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Russian Constructivism | Anna Gareeva ANNA GAREEVA 2011 OVERVIEW: Russian Constructivism Constructivism was a modernist avant-garde art movement, originating in Russia around the 1920s. With the historical political context of the 1917 October Revolution, there was an emerging need for ‘new’ art that engaged with the proletariat class, creating a ‘new’ way of life. Artists accepted that a revolutionary art was an inevitable accompaniment to the prominent social struggles, which defined the birth of Constructivism. The aim was to bring function and purpose to art; create art that was designed to benefit and serve the Soviet people. Through this utopian aspiration Constructivists believed their art would bring order and consonance to society, with the reduction of figurative aesthetics in favour of ‘absolute’ shapes 1. The movement was influenced by the geometricity of Kasimir Malevich’s Suprematism, and the Futurist celebration of technology. Industrial materials were embraced by the Constructivists; metals, wood, wire and glass, which predominantly composed their sculptures. Furthermore, Russian Constructivism influenced and was influenced by the German architecture of the Staatliches Bauhaus and the Dutch, De Stijl. All schools were concerned with ideals of harmony and the reduction to the essentials of form and colour, ultimately leading to universality and purity. Constructivism can be traced through the three stages of its artistic metamorphosis, starting with the fine arts, to architecture and design. The first stage, later defined as the ‘laboratory period,’ 2 proliferated in oil paintings and reliefs. Constructivist Liubov’ Popova explains that these artworks “are pictorial and must be considered only as a series of preparatory experiments for concrete material constructions.”3 Some of these ‘material constructions’ were the works of Vladimir Tatlin, with his counter-reliefs. These works signified a progression from conventional easel painting which developed to manifest large-scale in the mergence of the official schools of art in Russia with machine production, architecture and the applied arts 4. The Russian avant-garde art transformed from paintings and sculpture to works that fully assimilated into common life, from Tatlin’s architectural plans to the graphic and furniture design of El Lissitzky. This shift from fine arts to the 1 J. M. Nash, Cubism, Futurism and Constructivism. (New York: Barron’s Educational Series, Inc, 1978), 54. 2 The art historian Andrei Nakov used the term “laboratory period” to define the aesthetically abstract experimentations undertaken by early Constructivists. Although the works were non-utilitarian, Nakov believed them to ultimately set up a framework for future functional art. 3 Margarite Tupitsyn and Vicent Todoli, Rodchenko & Popova: Defining Constructivism, (Londong: Tate Pub. 2009), 102. 4 This was the establishment of Vkhutemas (The Higher Art and Technical Studios) in Russia. It was a state art and technical school founded in 1920 to replace the former schools of the Moscow School of Painting, Sculpture and Architecture, and the Stroganov School of Applied Arts. 1 ANNA GAREEVA 2011 Liubov’ Popova, Pictorial Architectonics, 1918. Oil on canvas, Liubov’ Popova, Space-Force Construction, 1921. Oil and wood dust on plywood. 2 ANNA GAREEVA 2011 factory and mass production is particularly elucidated by Antoine Pevsner and Naum Gabo, “The plumb-line in our hands, eyes precise as a ruler, in a spirit as taut as a compass ... we construct our work as the universe constructs its own, as an engineer constructs his bridges, as a mathematician his formula of the orbits.”5 The laboratory period not only signified the initial investigation into Constructivism, but also a shift from Malevich’s Suprematism. Popova’s work elucidates influences from previous movements, overarching Constructivist ideas, and the aesthetics that defined the transition into three- dimensional constructions. Popova’s work spanned many art movements6 and with her Constructivist paintings, Pictorial Architectonics (1918) and Space-Force Construction (1921) the simultaneous influence of, and break from, Suprematism is evident. Both works are indebted to Malevich with their abstractness and vibrancy. With Pictorial Architectonics, however, Popova destabalised the visual economy of Suprematism by partially liquifying and melting the hard edges of geometric shapes commonly seen with Malevich.7 The work explores form, colour, gradation, and line. Popova’s paintings had “more force and concreteness than Malevich and already [exploited] line as the element to define forms and map the path of correlation between them.”8 Similarly, the resonance in form and direction, the complicated interpenetration of shapes, mirrores the Futurist work of Balla and Boccioni. Thus, although the painting pertains elements akin to other movements, it also differentiates in the way Popova drove line and shape together; blending the two, producing transparencies. This signified the preeminent aim of early non-utilitarian Constructivism; the exploration of space. Pictorial Architectonics is composed of basic and essential entities, quadrilateral planes, and remains an open spacial composition of multiple perspectives. It displays a dynamic interaction between non-objective planes, which delivers a dramatisation of a tensile space, resulting in a vivid “rhomboidal distortion.”9 The blended, translucent lines and partial areas of planes explore the prolongation of space and the hidden space. The work Space-Force Construction, significantly differs to the former, it is jarred by numerous concurrent focal points developed from the intersection of line and plane. This, however, 5 Pevsner and Gabo’s ‘Realistic Manifesto,’ issued in Moscow on 5 August 1920. Translation by Naum Gabo was first published in Gabo: Constructions, Sculpture, Paintings, Drawings, Engravings, (London: Lund Humphries; Cambridge, Mass, Harvard University Press, 1957) 6 She experimented in Cubo-futurism, Suprematism and Constructivism. 7 Margarite Tupitsyn and Vicent Todoli, Rodchenko & Popova: Defining Constructivism, (London: Tate Pub. 2009), 14. 8 Ibid. 9 Andrei B. Nakov, “Liubov Popova 1889-1924,” Russian Constructivism: “Laboratory Period,” (Bromley: BOSP PRINT 1975), no page specified in catalogue. 3 ANNA GAREEVA 2011 Vladimir Tatlin, Corner Counter-Relief, 1915. Wood, metal, wire, cable. Whereabouts unknown. Vladimir Tatlin, model for Monument to the Third International, 1919-20. Wood, metal, glass. 4 ANNA GAREEVA 2011 emphasises the materiality of the partial shapes, the triangles, quadrilaterals and spheric projections. The dissonance of planes and colours, and the fluctuating tension between linear and painterly matters, produces dynamism, an investigation into fragmented space, thus still embodying Constructivism’s value of space. This painting symbolises a partial transition from traditional canvas painting; Popova worked on plywood and incorporated wood dust as a medium. The inclusion of industrial materials provides a visual vocabulary that denotes the technological influences, “real materials from the world of modern technology,”10 that were embraced by Constructivism. Popova believed this material property of texture, combined with colour, defined “the content of painterly surfaces” and provided “the sum of energy” that created space.11 Volume was another aspect, secondary to space, that was “built from the intersection of the plane ... in space,”12 as evident in Pictorial Architectonics. Constructivists were ultimately concerned with “solving the problem of painterly and volumetric space.”13 This was realised in the unity of physical sculptural volumes and “modulations of colour as a painterly surface,” first emerging in the works of Tatlin, which denoted a progression from the laboratory period. In 1921 Popova abandoned painting with Lenin’s introduction of the New Economic Policy, embracing the growing utilitarian stance of Constructivism, channeling her talents to textile, stage and costume design, avoiding the threat of her art becoming a material object of commodity. The transmutation of Constructivism towards a new category of art, three-dimensional construction, was largely pioneered by Tatlin, the ‘father of Constructivism.’ Tatlin impacted on the establishment of Constructivism with his ‘corner-counter reliefs,’ that were made from contemporary media, and “incorporated real space within themselves, fusing their environment and expressing the spatial and dynamic aspects of twentieth-century urbanism and technology as perceived by the [Constructivists].”14 As with Corner Counter-Relief (1915), fabricated from wood, sheet metal, wire and cables, an industrial aesthetic is prominent, as is the continued exploration of space15. The work connotes a discontentment with the static flat wall support of painting, also displaying an architectural component with the corner installation. Constructivists felt that material 10 Christina Lodder, Russian Constructivism, (New Haven and London: Yale University Press 1983), 74. 11 Margarite Tupitsyn and Vicent Todoli, Rodchenko & Popova: Defining Constructivism, (London: Tate Pub. 2009), 15. 12 Andrei B. Nakov, “Liubov Popova 1889-1924,” Russian Constructivism: “Laboratory Period,” (Bromley: BOSP PRINT 1975), 45. 13 Ibid. 14 Christina Lodder, Russian Constructivism, (New Haven and London: Yale University Press 1983), 14. 15 The exploration of space was, as discussed, important in the laboratory period. 5 ANNA GAREEVA 2011 was an innate segment of ‘construction,’ and thus was related to
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